1,326 免版税 音轨，用于"Chords"

Major chord on C in 17 equal temperament (0,6,10).

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

I-IV-♭VII-IV chord progression. Barre chords on a MIDI acoustic guitar: C-F/C-B♭-F/C.

Three beta chords on C♯. C♯, E, G, B♭, C♮; C♯, E, G, C♮; and C♯, G, C♮.

Lydian augmented polychord on C: 04689e = C,E,F#,G#,A,B.

Crunchy electric guitar chords, played with single coil pickups.

Crispy chords from the e major scale.

A fingerpicked f#add11 chord with tremolo added at the end for suspense.

Dirty fmaj7 cycling envelope variations. 2nd inversion. Lazy chord patch.

Granular synth chord from some lo-fi noise i found, with additional reverb, width, and eq.

Free use.

My wife singing a 3-part triad as a choir of angelic voices.

Major triad on C in first inversion.

German sixth with 6/4 resolution, generated on Sibelius.

1st chord progression made with multisamples saw wave sampled from arturia minibrute loaded into a kontakt2nd one made with single waveform from the same samples loaded into serumjust for analyse the difference between the two signal. Donate: paypal. Me/rvone.

Future bass supersaws, created with xfer serum in reaper. Decided not to use this chord progression for my track, but perhaps it can be of use to someone!. License: cc0.

Recorded classical guitar cuenca mod 10. Made in spain. The sound is recorded on condenser microphone octave mk-220 and fw 1814.

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Played some chords in f dorian.

Created by Hyacinth (talk) using Sibelius.

Some jazz chords with a full wind section. 88 bpm.

Viennese trichord as dominant. Created by Hyacinth (talk) 21:31, 4 July 2010 using Sibelius 5.

An upright piano chord sequence repeated three times, and a clock ticks!. This recording is not a perfect loop but able to be made such. Tempo is synced to clock ticks and so is almost accurately 120 bpm. Recorded by sony xperia c5305.

Cut up from mall muzak 1974 / track 06https://archive. Org/details/mallmusicmuzakmallof1974.

Electric guitar, mild gain. Repeating riff pattern up and down the fretboard.

Man i keep making these loops lolol. The chords are e7 gmaj7 d7 d#7.

♭III+ chord in just intonation. Pitch bend matches intervals.

Eight bar blues, guitar chords: I V7 IV7 IV7 V7-IV7 I V7.

45:54:64 = F#+, A+, C = C, Eb, Gb-

5:6:7 = E, G, B7b = C, Eb, G7b.

A dark minor chord progression made with a vintage synth plugin on fl studio.

Diagonal barre chord: major seventh chord on G. The first finger fingers both the second fret on the first four strings and the third fret on the sixth string.

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

Chord progression on mic'd acoustic guitar. A major, c# minor, b minor, e major. Sm57.

A carefully balanced pad chord. Reminds me of 1996. Perfect for warm and relaxing edm / elektro / chillout.

Oberheim sem pad chords at 120 bpm with delay and parallel shift.

Some chords with an impulse response from a pcm 70 reverb.

Instrumental chords best em.

I am very proud of this one. Chords:. Cm9f9g#6b5gaug7, gdom7.

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

This is something what i'm thinking of for a while. It's not very musical but i'm trying to find how are this type of chords useful?. When i listen this chord it gives me some strange sad-happy mood that changes rapidly in my head.

A nice and wide sounding piano chord, using a digital piano sound i'm developing from public domain piano samples. Enjoy!.

2 channel, drop-d chord played on a reverend rocco through a hughes&kettner; tubeman ii on distortion channel.

V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.

An acoustic guitar chord recorded through a set of guitar plugins for extra fun!this one is am9.

Pandiatonic chord with nonharmonic bass in Igor Stravinsky's Symphony of Psalms, 3rd movement.

Original live home recording.